This is the first post in a new series I hope to maintain and update continually regarding the continuation and health of Eurobeat as a commercially viable genre. In… less flowery prose, I’ll be writing about what it’ll take to keep Eurobeat alive. As the hearsay of Eurobeat’s impending doom grows louder and louder with each passing day, instead of sitting idly by and watching a genre for which I’m extremely passionate fade away, I’ll be proposing patches to the holes in the sinking Eurobeat boat.
Before I go on, know that much of what I post here is speculation, not based on released Avex statistics or things of the sort, unless those figures are available. As someone who has had tastes of both sides of the market (large-scale/Super Eurobeat and Independent), I do feel that I have SOME sway or some idea of what I’m talking about.
So, without further ado, the steps I propose to save Eurobeat and prolong its life and existence:
- WRITERS AND VOCALISTS: Content and Quality Matter
- VOCALISTS: Raise New Ones, Refine Seasoned Veterans
- PRODUCERS: Experiment, Experiment, Experiment
- AVEX: A lack of Worldwide Distribution is Absolutely Unacceptable
- FANS: BUY THE ALBUMS FOR GOD’S SAKE.
Each one of those will have its own entry explaining why these steps are crucial for Eurobeat’s survival. I will of course be open to discussion of counterarguments in the Comments section.
Truth be told, I don’t like to say some of the things I think will save the genre. Truth be told I join some of my detractors in saying that some things were better before than they are now, and would probably not sound as good if they changed. But honestly if these are what are necessary for genre survival, I will gladly put my own tastes second if it means I can hear more Eurobeat five years from now. It’s my hope that some of my more genre-seasoned readers can do the same.